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(Source : jesuisperdu)
Ryan Donato, Self portrait with a tissue, 2013. Acrylic on paper. 18” x 24”. Inspired by Picasso’s The Weeping Woman.
Anonyme a dit: You also dabble into photography from time to time which makes me curious. What's your preference to painting rather than photography?
Thanks for asking. Hockney said it best, “a camera cannot see what a human can see, there is always something missing.” In that, a photograph documents a split second in time that happens to have been caught on a camera. Whereas a landscape painting, portrait, or still life might appear to be a moment immortalized in a single image, but it is in fact a culmination of days, weeks and in the case of many artists (Cézanne, Monet, Van Gogh, Gauguin, and Hockney), years of looking at a single subject. It’s the result of vast quantities of stored information, experience, jottings and spatial study that has eventually appeared in colors, composition and atmosphere of a final finished artwork.
If ten people were to stand on a hill and take a photograph of the same view, from the same camera, the results would be nearly identical. If the same ten people sat down for a few days and painted the view, the results would be markedly different. Not because one individual may be more of an accomplished artist than another, but owing to the nature of humans: we can all look at the same view, but we don’t see quite the same thing. Which has been a common motif in my latest work. “Is this what I see?”
This is kind of lengthy, so to sum up my words, humans bring in their own unique mix of prejudices, tastes, experience, knowledge, etc, whereas a camera cannot capture reality better than any painter or sculptor.
“I don’t believe in art. I believe in artists.” –Marcel Duchamp, born on this day in 1887.
Step 1: Take a shot.
Anonyme a dit: Why abstract?
Abstract comes from the world. It is less a distillation than it is an accretion. The material world impresses upon us images and patterns from the first moment we open our eyes. Composition, harmony, proportion, light, color, line, texture, mass, and motion are all vocabulary of sight. We tap into this vocabulary, and the patterns that go with it, when we compose or frame images. The commonality that allows us to respond to images, even abstract ones, is rooted in our ability to recognize infinite manifestations of the physical world and the mental constructs to which they correspond.